Gustav Mahler was one of the supremely gifted musicians of his generation. His contemporaries came to know him as a composer of startling originality whose greatest successes with the public never failed to provoke controversy among the critics. As a conductor, his relentless pursuit of perfection was sometimes viewed as tyrannical by the singers and musicians who came under his baton. Professor Henry-Louis de La Grange has devoted over thirty years of painstaking resarch to this study of Mahler's life and works. His biography, ultimately to be completed in four volumes, is drawn from a vast archive of documents, autographs, and pictures, assembled by La Grange at the Bibliotheque Musicale Gustav Mahler, Paris. This second volume covers the years 1897-1904, when the focus shifts to Vienna. It opens with Mahler's triumphant debut as director of the Vienna Court Opera, and follows with the revolution he wrought there in standards of performance and, with the Secession painter Alfred Roller, in scenic representation. An account is also given of Mahler's story and brief engagement as conductor of the Vienna Philharmonic Concerts, following Richter's resignation in 1989. La Grange depicts the brilliant society of pre-war Vienna, then the centre of the intellectual and artistic world; the extraordinary range of artists among whom Mahler lived and worked included the composers Dvorak, Gustave Charpentier, Richard Strauss, Zemlinsky, and Schoenberg and his two disciples, Berg and Webern; the painters architects and decorators of the Secession with Klmit at their head; the writers Hauptmann, Dehmel, Hofmannsthal, and Schnitzler. There he also met Alma Schindler, 'the most beautiful woman in Vienna', and La Grange tells the story of their engagement and marriage in 1902 and the early years of their tempestuous relationship. As his fame spread throughout Europe, Mahler travelled with his music to Germany, Russia, Holland, Poland, and Belguim, meeting many other leading musicians of his day, including Pfitzner, Mengelberg, Diepenbrock, Oskar Fried, and many others. During this period Mahler wrote some of his best-loved works, including the fourth and Fifth Symphonies, and the three orchestral song-cyles and collections - the Wunderhorn -, Ruckert-, and Kindertotenlieder. For each of these works La Grange provides full notes and analytical descriptions. Scrupulously researched, richly documented, this is a study worthy of the extraordinary artistic achievement of Gustav Mahler's Vienna years.
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老实说,我期待这部作品能更深入地剖析马勒的家庭生活与他那些宏大交响曲之间的内在关联,但这本书的重点似乎更偏向于他在音乐行政管理和指挥艺术层面的“硬核”分析。这无可厚非,毕竟他是那个时代最伟大的指挥家之一。书中最让我印象深刻的是关于马勒与阿尔玛关系紧张时期,他对《大地之歌》的创作心境的侧写。那种面对死亡的预感和对世俗情感的复杂抽离,通过对信件和手稿的细致考量,被展现得淋漓尽致。我仿佛能听到那些管弦乐群组如何在他的内心世界中碰撞、爆发。作者没有使用那种煽情的笔法,而是用一种近乎客观的学术态度,将情感的波澜隐藏在音乐结构和文本分析之下,需要读者有相当的音乐背景才能完全领会其精妙。这种克制的美学,反而更具震撼力,让人在静默中感受到音乐背后的巨大能量。
评分这本书的叙事节奏把握得非常巧妙,它不是那种平铺直叙的传记,而是像一部精密的音乐会程序单,总是在关键时刻切入高潮。比如,关于马勒在纽约大都会歌剧院的短暂却充满戏剧性的经历,作者通过对比美国媒体的保守与马勒的激进风格之间的冲突,构建了一个精彩的文化碰撞场景。他如何利用指挥台上的权威来推行他那“整体艺术作品”(Gesamtkunstwerk)的理念,即使面对资本的压力和保守势力的掣肘,都写得非常引人入胜。读到他如何处理那些苛刻的独唱家和不合作的乐团成员时,我甚至产生了一种“身临其境”的紧张感。这种对权力斗争和艺术坚持之间平衡的探讨,远超出了普通传记的范畴,更像是一部关于领导力与艺术纯粹性的案例研究。
评分我得承认,这本书的理论深度是相当高的,对于那些只听过马勒几部著名交响曲的普通乐迷来说,可能需要一些耐心来消化其中关于对位法、配器法以及晚期浪漫主义和早期现代主义过渡期的音乐语言分析。作者对于马勒晚期作品中那些“不协和音”的使用动机,有着一套非常独特的见解,他认为这不是简单的技术创新,而是一种“存在主义的焦虑”在声学上的投射。这种观点很有启发性,它强迫我重新审视那些我听过无数遍的乐段。虽然有些段落的术语密度稍高,但我认为正是这种不妥协的学术态度,使得这部作品在马勒研究领域具有了不可替代的地位。它更像是一部给专业人士和深度爱好者的“工具书”,而非咖啡桌上的装饰品。
评分这本关于马勒的第二卷传记,从我翻开它的第一页起,就让我沉浸在那个宏大而又充满挣扎的十九世纪末音乐世界的漩涡之中。作者的笔触细腻入微,仿佛能穿透历史的迷雾,让我清晰地感受到马勒在布拉格、汉堡乃至维也纳歌剧院舞台上那种近乎狂热的职业生涯的艰辛与辉煌。尤其是对于他作为指挥家在处理瓦格纳和莫扎特作品时的那种近乎偏执的“还原”与“革新”的矛盾心态,描述得极其到位。我记得其中有一段对比了他早期在莱比锡的尝试与后期在维也纳皇家歌剧院的权力巅峰时期的不同,那种权力对艺术创作的微妙影响,简直是教科书级别的分析。它没有过多地纠缠于那些耳熟能详的八卦,而是深入挖掘了这位天才艺术家在每一次乐章、每一个音符背后所蕴含的哲学思考和对生命意义的追问。读完这一卷,我感觉自己不仅仅是了解了一个音乐家的生平,更是触摸到了那个时代知识分子精神困境的脉搏。全书的论述逻辑严密,引用资料翔实,绝非泛泛之作。
评分整本书的装帧和排版也体现了一种对马勒美学的尊重——严谨、克制,又不失恢弘大气。但我个人感觉,如果能增加一些关于二十世纪初维也纳艺术圈的广义背景介绍,也许能让马勒这位“局外人”的角色更加立体。例如,书中对克里姆特或维也纳分离派其他艺术家的提及略显单薄,而我们知道,马勒深受当时思潮的影响。尽管如此,作者对于马勒如何从古典主义的框架中挣脱出来,最终为二十世纪的音乐打开了新的大门这一核心主题的论述,是极其精妙的。他成功地描绘了马勒如何站在历史的十字路口,既是继承者,又是彻底的颠覆者。这使得阅读过程变成了一场对音乐史“转折点”的深度探访。
评分只读过一小部分,详细得让人发指。
评分只读过一小部分,详细得让人发指。
评分只读过一小部分,详细得让人发指。
评分只读过一小部分,详细得让人发指。
评分只读过一小部分,详细得让人发指。
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